How Long Should a Memoir Be?

Is this your memoir?

How long should a memoir be?

That’s the million-dollar question. It must be. Someone asks a variation of it at least once a week in a Facebook memoir group I’m in. I hate to see this question; the only thing I hate more are the most common answers:

• As long as it needs to be.

• As many words as it takes.

• Long enough to tell your story.

I honestly believe these answers are not meant to be flippant; I think they’re meant as kind, encouraging advice. But these answers are not only unhelpful, they are misleading.

As a book editor who has chosen to specialize in memoir, I always try to interject guidance into the conversation by giving a specific word-count range that is in line with publishing industry standards. I often include a link to such information. Then, the disagreements start.

Poo industry standards, they might say (or something along those lines). No one should tell you how many words your own story should be. Well, that’s true if you do not intend to publish in any form ever or if you don’t care whether your memoir sells after it is published. If those two circumstances do not apply to you, read on.

What is the Recommended Length of a Memoir?

Like any subject, thanks to Google, you can find any answer to any question that suits your needs. When I asked the question “How long should a memoir be?” in a Google search, it produced more than 89,800,000 results. Are they all the same answer? Of course not. But if you go with the credible results—publishing houses, indie publishers, memoir authors, editor and writer associations, book coaches, and agents—a common answer emerges: approximately 80,000 words. Or as few as 60,000 and as many as 100,000. There are outliers, of course, like 40,000 to 140,000. But 60K to 100K is the acceptable range. I always tell people that about 80,000 words, give or take 10,000, is a good target.

In an utterly unscientific survey conducted by me over the course of about four minutes, I found that, remarkably, several fairly recent bestselling memoirs (all by politicians or celebrities of one kind or another) contained 352 pages. That must be some kind of magic industry number. In any event, at 250 words per page (another industry standard), that comes to 88,000 words. Now if, let’s just say, Will Smith can write an 88,000-word memoir, I think you and I should be able to.

Why Does an Acceptable Length Matter?

As I said earlier, you can write a 250,000-word memoir if you feel you need to. Some folks in that Facebook group have written that many and are still writing. You can produce a 10-pound tome if it brings you satisfaction or catharsis. But these are the questions to ask yourself if you intend to publish (self-, hybrid, or traditional):

Who will want to read this long memoir about me? (Spoiler alert: very few people.)

How much will it cost to self-publish? (Spoiler alert: a lot.)

How much will I need to charge for it to recoup my expenses and make a profit? (Spoiler alert: a whole lot.)

Will a hybrid or traditional publisher want it at this length? (Spoiler alert: no.)

But, let’s pretend. . . How much would it cost a hybrid publisher to print it and what will they need to charge for it to recoup their expenses and make a profit for them and me? (Spoiler alert: way, way too much.)

Working with a Publisher

I am a manuscript assessor for a hybrid publisher in Texas. I read nonfiction and creative nonfiction manuscripts and write detailed reports about their pros and cons, including whether the word count is too slight or too extensive for the topic and genre. If either is the case, I then recommend that an editor work with the author to either bulk up the material or cut text to bring the manuscript to within industry standards for the genre. If I were to read a memoir that is 150,000 words in length, I would recommend a substantive edit, in which an editor works with the author to narrow the focus of the memoir and delete material that is not relevant to the specified theme.

It doesn’t matter how perfect or brilliant each word is—that is not a length for a memoir that will be marketable. Period.

Memoir is NOT Autobiography

I can’t stand another discussion about the difference between memoir and autobiography without wanting to regurgitate. Please don’t present me with the Oxford English Dictionary definition of memoir. The dictionary definition is not how memoir is defined by twenty-first century publishers. If you want to write an autobiography—or a family history— feel free, but don’t call it a memoir. A publisher will not consider it a memoir. I quoted Marion Roach Smith in my May 2020 blog post “How to Choose a Memoir Theme":

A memoir is not about you. It’s about something and you are its illustration.

A memoir is a story about something you know after something you’ve been through.

Dear folks, that is the definition of memoir from a publishing point of view. A memoir is a story from a life, not the story of a life.

Don't Ramble: A Theme Will Keep You Focused

And as I’ve discussed in my blog several times, the best way—maybe the only way—to stay focused is to have a clearly defined theme. In my blog post “Writing Memoir: Avoid These Common Mistakes,” I chose this as Memoir Writing Mistake #1: Trying to cover too much. I know from working as a writing coach and as a memoir editor, if you just start writing a memoir without a theme, it’s like going on a cross-country trip without an itinerary or GPS.

What is a theme? It’s a one- or two-sentence answer to the question, “What is your memoir about?” Yes, one or two sentences. That’s it. To understand this better, read “How to Choose a Memoir Theme.”

In addition, you should know who you’re writing for and what you hope they will learn from reading your memoir. Again, if you can’t pinpoint your audience and the reason you are writing a memoir, you will meander and overwrite, which will make for an unsatisfying, pointless read.

Final Thoughts

Memoir is not the same as autobiography.

A memoir theme is a one- or two-sentence answer to the question, “What’s it about?”

Decide who your memoir audience is. Keep them in mind while you write.

What’s the takeaway? What will your readers have learned when they’ve finished your book?

Happy writing!

Sensitivity Readers: An Editing Specialty Comes of Age

We are a nation rich in diversity.

In June 2019, I posted an article to this blog called "Sensitivity Readers Are Not Censors." At that time, controversy was swirling around the role and appropriateness of the so-called sensitivity reader (SR). I had a hard time finding clear, positive discussions of what an SR was and what one does. Even the prestigious New York Times ran that article titled “In an Era of Online Outrage, Do Sensitivity Readers Result in Better Books, or Censorship?” by Alex Alter that was as unflattering as you could get about SRs.

This go-round, I will tell you what SRs actually do and why now, a mere year and a half later, the need for writers and publishers to employ SRs is the norm and not the exception.

SRs Aren’t Going Away

The Chicago Manual of Style weighed in on these issues in Section 5.254: Bias and the editor’s responsibility. It says in part:

A careful editor points out to authors any biased terms or approaches in the work (knowing, of course, that the bias may have been unintentional), suggests alternatives, and ensures that any biased language that is retained is retained by choice.

Conscious Language

Conscious language is a term coined by Conscious Style Guide founder Karen Yin. According to Yin, conscious language is the art of using words effectively in a specific context. Who is your audience? What tone and level of formality do you want? What are you trying to achieve? Some words are more apt than others. The most important part of conscious language is the conscious part—our intention.

Conscious Style Guide described itself as:

…the first website devoted to conscious language. Our mission is to help writers and editors think critically about using language—including words, portrayals, framing, and representation—to empower instead of limit. In one place, you can access style guides covering terminology for various communities and find links to key articles debating usage. We study words so that they can become tools instead of unwitting weapons.

Yin’s website is replete with resources from scores of other websites (divided into sensitivity categories), a newsletter, blog, and, of course, the obligatory store.

What Sensitivity Readers Offer

Crystal Shelley is a full-time editor, proofreader and sensitivity reader who works as Rabbit with a Red Pen. In addition, Crystal is a Licensed Clinical Social Worker (LCSW).

According to Crystal, authors, editors, and publishers employ sensitivity readers to accomplish four goals:

• Strengthen the story

• Identify potential harmful elements of the writing

• Assess the effectiveness of the language

• Evaluate biases

While the role of a sensitivity reader is most often associated with editing fiction, an SR’s specialty is applicable to all forms of writing, including blogs, memoirs, and long-form essays. Sensitivity readers strengthen writing by helping the writer with these elements:

• Character description

• Dialogue and character behaviors

• Cultural elements and settings

The role of an SR is to flag problems with language, but, most importantly, they will offer alternative language and depictions.

How can a sensitivity reader strengthen writing? An SR reads with the goal of rooting out language that is:

• Disrespectful

• Excluding

• Stigmatizing

• Presumptive

Writing that is devoid of harmful, derogatory, and disrespectful language builds trust; readers can see the author cared enough to do their homework.

Diversity Baseline Survey

Lee & Low Books released the first Diversity Baseline Survey 1.0 in 2015. Before the DBS, people suspected publishing had a diversity problem, but without hard numbers, the extent of that problem was anyone’s guess. The goal was to survey publishing houses and review journals to capture information about their employees, their publishing workforce, regarding these categories:

• Race

• Gender

• Sexual orientation

• Disability (chronic, physical, and mental illness)

The results of DBS 1.0 were shocking. The publishers' survey respondents were identified as:

• 79 percent White

• 78 percent women

• 88 percent straight

• 92 percent non-disabled

As readers had begun to demand to see themselves depicted in books, the publishing industry itself did not reflect the diversity of our country's populace.

The numbers provided by DBS 1.0 brought into sharp focus the need of publishers to place more books into the marketplace that represent our country's rich diversity, but initially, this effort was apparent only in the children's book market. Cultural events and political and social movements in the five years since the DBS 1.0 cannot be ignored by the industry.

Diversity in Publishing Matters

According to a Lee and Low blog article from January 2020, the book industry has the power to shape culture in big and small ways. The people behind the books serve as gatekeepers, who can make a huge difference in determining which stories are amplified and which are shut out. If the people who work in publishing are not a diverse group, how can diverse voices truly be represented in its books?

Are You Out of Step?

If you do not grasp the importance of diversity in writing, and the need to accurately and kindly represent people of different races, genders, orientation, and disabilities, you are out of step with the US publishing industry. One could argue you are out of step with humanity. If a discussion of sensitivity to “the other” in your writing doesn’t speak to your heart, I am reminded of a quote from Dr. Anthony Fauci:

I don’t know how to explain to you that you should care for other people.

Best Writing and Editing Resources

Trish's favorite books on writing

This should really be titled "Trish's Favorite Writing and Editing Resources." There are scores, maybe hundreds, of similar articles online. These are what I consider the essentials for being a writer or editor. And I've only scratched the surface.

I start with the basics, for those needing guidance with grammar rules and language mechanics. I then list several more advanced resources for those who need help with developing their writing style, tone, and presentation. Finally, I offer a short list of essential online tools.

The Basics: Grammar, Punctuation, Mechanics

The Elements of Style by William Strunk Jr. and E.B. White. If you buy only one grammar and composition guide (but why would you do that?), this is the one. What hasn’t been said about this little gem? First published in 1959, The Elements of Style is a perennial bestseller, available in a variety of versions, such as an annotated edition, an edition with a study guide, a 4th edition published in 1999, and a new inexpensive e-book version published in October 2020.

On Writing Well by William Zinsser. Here’s another classic owned by almost every writer and editor. The 30th Anniversary Edition was published in May 2006. Zinsser is a superstar journalist, magazine contributor, book author, editor, and university teacher.

100 Ways to Improve Your Writing by Gary Provost. This book is chockful of grammar rules. But it is more than just a grammar guide. You’ll find chapters on how to write an awesome beginning, overcome writer’s block, and ten ways to develop your style. A little powerhouse of a book. First published in 1972, an affordable mass market edition was published in May 2019.

Dreyer’s English: An Utterly Correct Guide to Clarity and Style by Benjamin Dreyer. This book appears on many lists of “must have” writing reference guides. Dreyer’s English is notable for its humor and occasional tongue-in-cheek approach to the material. It is best appreciated by reading it in its entirety rather than thumbing through it as you might with other reference guides. Random House published a trade paperback edition in August 2020.

I’m also a fan of Woe Is I: The Grammarphobe’s Guide to Better English in Plain English by Patricia T. O’Conner. Informative but witty and lighthearted. Grab a copy if you get the chance. The 4th edition was published in February 2019.

Now, my personal choices for the absolute most basic grammar books you should add to your reference library.

Hodges Harbrace Handbook/ The Writer’s Harbrace Handbook. During his tenure as a University of Tennessee (Knoxville) English professor in the 1930s, John C. Hodges obtained federal funding to support his study of the frequency of errors in college students’ essays. He collected 20,000 student papers, analyzed the errors in those papers, and used those findings to create the original Harbrace Handbook of English. When Hodges died in 1967, the textbook was in its sixth edition and was renamed Hodges Harbrace College Handbook. I owned a copy during my high school years in the 1970s and took it with me as my writer’s bible to my first professional writing job in 1979. I kept that edition for years. Since then, I’ve owned as many as three different editions at one time, because you can pick them up inexpensively in used bookstores. And I couldn’t help myself.

This handbook is so solid and complete, it did not undergo a significant revision until the 13th edition in 1990.

Now called The Writer’s Harbrace Handbook, written by Cheryl Glenn and Loretta Gray, this version is in its 5th edition, last published in 2012. The new 6th Edition Writer’s Harbrace Handbook (with APA 7e Updates) will be available December 16, 2020. This book is still compiled with student writers in mind. In addition to grammar, punctuation, spelling, and language mechanics, it features sections on rhetorical reading and writing, essays, research, managing academic writing, and composing arguments. It can be purchased in hardcover, paperback, and purchased or rented as an e-textbook.

Advanced Writing Resources

If you have a handle on the basic rules of English grammar, you should fill your library with books that help you develop your personal style and make you a writer of quality prose. Here are a few of the books almost all authors and editors recommend.

Bird by Bird by Anne Lamott. A favorite among writers of fiction and nonfiction, it’s loaded with great advice and makes for an entertaining read. “Bird by bird, buddy. Just take it bird by bird.”

The Forest for the Trees: An Editor’s Advice to Writers by Betsy Lerner. Another fun, pleasant read that’s brimming with tons of priceless mentoring from a famous literary agent and acclaimed editor.

Writing Down the Bones: Freeing the Writer Within by Natalie Goldberg. Guidelines for creativity and story development are told in an entertaining style. Writing Down the Bones offers hints of memoir, personal essay, and humor. Another great book for your library.

On Writing by Stephen King. It’s Stephen King, right? He’s a darn good writer. But my experience with this book is that King’s advice on creating a daily writing schedule can be a bit daunting. If you have a full-time job, school, and/or a home and family, his daily goals can be tough to achieve and many readers have gotten discouraged. If you read this book while acknowledging that you are not trying to be Stephen King, you’ll be fine.

Online Writing and Editing Resources

There are hundreds of online tools to guide, assist, and mentor writers and editors. So many, that I've chosen only three that offer basic but genuinely helpful writing assistance.

Grammarly is a helpful resource for grammar rules. It is free and wildly popular. But beware—at times, Grammarly is just plain wrong about the changes it suggests. Sometimes it flags words and phrases it doesn’t like but that are not necessarily incorrect. As a writer, you should know grammar rules—but as you grow as a writer, you will decide how and when to break those rules for a desired effect. Don’t let Grammarly cramp your style.

Hemingway Editor is popular as a free online writing and editing resource. It’s good and, in general, will help you streamline and tighten up your prose. But I don’t always agree with it. If you don’t understand Ernest Hemingway’s style and why so many strive to emulate it, I’ve talked about it in a couple of my blog posts: Overwriting, The Death of Clarity and A Work of Fiction is Not a Fill-in-the-blank Game.

A readability score roughly estimates the level of education someone would need to easily read a passage of text and comprehend it. A readability score of your work is more important than you might realize. Your prose readability score should align with your intended audience; you don't want to talk down to or over the head of your readers. There are numerous readability score tools online; I recommend Readability Test Tool as an easy-to-use, free option. Copy and paste chunks of your writing into this tool to receive your score.

Many Microsoft Word users don’t know that Word can give you a readability score and grade level of your documents. Open an existing document and try it out now. Here’s how it works:

1. Go to File > Options.

2. Select Proofing.

3. Under When correcting spelling and grammar in Word, make sure the Check grammar with spelling check box is selected.

4. Select Show readability statistics.

After you enable this feature, open a file that you want to check, and check the spelling by pressing F7 or going to Review > Spelling & Grammar. When Word finishes checking the spelling and grammar, it displays information about the reading and grade levels of the document.

Deciding what to include for this post was difficult. As I said, this barely scratches the surface of books and online tools available to help you improve your writing and editing skills. I'd like to know what resources you rely on. Drop your favorites in the comment box.